Blue Mother Tupelo – Heaven & Earth (Diggin’ Music).

Tennessee husband and wife duo Ricky and Micol Davis’ third album has been mastered by Motown legend Bob Ohlsson who worked on many of Stevie Wonder’s hits. Heaven & Earth bears the Ohlsson stamp but is very far removed from those Wonder tracks. Always Lookin’ is a mid-paced Country rocker with a little funk on the side. A rasping vocal from Micol Davis makes for a good opening. The slow and hypnotic eponymous title track is played on piano and there is something spiritual about it. Give It Away/Hard Times has a grinding boogie slipping into a rhythmic Delta blues before reverting back to some grinding to finish the duet of songs off. The War is a beautiful piano ballad and their voices work well together on Goin’ Down Midnight, a mid-paced rocker. Wandering Soul is gentle Americana and so easy to listen to. Tupelo sees the introduction of saxophone to back up the slide guitar all played in a laid back Southern US style.

Ramblin’ Train is a bit heavier and darker than its predecessors although it is a bit out of sorts with the rest of the album. There is some more gentle Americana in the form of the Jesse Winchester written Biloxi and their strong harmonies underpin a classic Southern Country rock on Hand In Hand. The traditional I Wish I Was In Heaven Sitting Down brings Janis Joplin to mind and the gentle High In The Sky is much akin to Krista Detor in its execution. Runnin’ Around is rousing, rocking Country and they finish with the swamp music of Gustard Bellue. This is a jaunty end to an overall excellent album and it is split into two tracks, in effect. There are children singing on the second part and dogs barking in the background which gives a homely feel. To give more of a background, Gustard Bellue is the dog of the story – imagine calling out for him in the park!!

http://www.bluemothertupelo.com/

David Blue.

Patrick Vining Band featuring Mike Bourne – Atlanta Boogie (Blues Boulevard).

An Atlanta native, Patrick Vining has been playing music since he was a child but it was only when a friend played him a Muddy Waters record that he knew that he had to sing the blues. That love of the blues continues with his latest album, Atlanta Boogie, which opens with a Kansas City style blues, Everybody Knows. Vining has one of those lived-in voices and Mike Bourne’s sharp guitar compliments it very well. Chicago blues man Bourne is steeped in the styles of Chicago and Kansas City and has now relocated to Atlanta to join up with Patrick Vining. Last Night is another shuffling blues with New Orleans overtones and highlights Vinings perfect voice for the blues. There is some good piano work from Matt Wauchope on this one. Tommy Brown joins on vocals for Atlanta Boogie and his is good time music in a rock n roll vein. I’m So Glad is a boogie-woogie and a classy one too with Wauchope is sparkling form.

30,000 Dollar Millionaire is a strolling blues/swing effort and very pleasing to the ear whilst the very good Money’s Getting Cheaper is a mid-paced swing blues. Something is upbeat R&B and Late At Night is a standard slow Chicago style blues. They then throw in Man Of Clay, a fast paced boogie that shows they are comfortable with all forms of the blues. There is a Gospel feel to the beginning of Last Meal. However, this then turns into a rolling blues but it is the organ playing of Wauchope that makes it feel like Gospel. A good, strong finish from a tight band.

http://www.blues-boulevard.com/
www.myspace.com/patrickvining

David Blue.

Philip Sayce – Peace Machine (Provogue).

As a teenager, Philip Sayce was held in such high regard as to be invited to join the Jeff Healey Band and played with them at the Montreux Jazz Festival and many other sold out gigs around the world. After moving to Los Angeles he joined Uncle Kracker and was with the band when they had their massive US number 1 with Drift Away. He then joined Melissa Etheridge’s band and was with her until 2008. Now temporarily on his own, he releases his debut solo album on Provogue, a label that is getting a reputation as the home of guitar players. Peace Machine opens with One Foot In The Grave (not the theme to the popular sitcom), a high energy rocker. Save Me From Myself continues the hard rocking – classic stuff. Slip It Away is a Jimi Hendrix style hard blues which speeds up as Sayce launches into a solo that will take your breath away. The title says it all on Powerful Thing – think Lenny Kravitz and you’ll almost be there. This is followed by the acoustic led Angels Live Inside before he turns the power back on for the ballad, Dream Away and the rock with Sweet Misery.

Blood On Your Hands is a standard rocker but a classy example of one. Sayce doesn’t go in for too many solos but he puts in a good one here with touches of Bon Jovi. Cinnamon Girl is a classic Neil Young song and Sayce stays very close to the original feel. It flows well with archetypal riffs helping it to do so – psychedelia lives! The acoustic led Over My Head is a classic American MOR rock tune and Sayce finally unleashes his guitar as he builds the song layer by layer. Alchemy is a slow, bluesy instrumental which showcases his playing ability and it works very well. All I Want is another Lenny Kravitz style rocker and Morning Star stays in the same mould. Sayce is very easy to listen to although he is getting more and more adventurous as the album goes on. The title track has echoes of Foxy Lady at the beginning before going onto a heavy blues riff. This is a big, blues rocker and a feast of guitar playing. The bonus track, Arianrhod is another instrumental to satisfy the guitar lovers. Sayce uses just about every effect pedal in his collection. At over 7 minutes, it has a bit of a break just after 4. He then goes off into what is effectively a reprise of the title track, this time played on dobro.

Philip Sayce is a worthy addition to Provogue’s excellent stable of guitar players.

http://www.philipsayce.com/
http://www.provoguerecords.com/

David Blue.

Roy Rogers – Split Decision (Blind Pig Records).

Roy Rogers is one of the finest slide guitarists around today. Always in demand, he has a number of credits to his name, most notably as a member of John Lee Hookers Coast To Coast Blues Band and you will have heard his talents if you have ever seen the film One Flew Over The Cuckoos Nest as he features on the soundtrack. His sixth solo album begins with Calm Before The Storm, a grinding, shuffling opener with Rogers’ signature slide. Patron Saint Of Pain features his swinging, laconic delivery and Little Queen Bee is a bouncy boogie. Bitter Rain is another shuffling blues based rocker and confirms that Rogers improves with age. Someone Like You shows more of a country influence but is a little weak. The jazzy Rite Of Passage has an excellent sax input from George Brooks but the follow up Rivers Of Tears is a bit nondescript. Your Sweet Embrace is a gentle acoustic instrumental whilst Requiem For A Heavyweight is just bog standard by Rogers’ standards. I Would Undo Anything is unashamedly country and won’t offend anyone but he’s back to what he does best on Holy Ghost Moan. This electric slide boogie is played in a CCR style. It’s good fun and it’s the highlight of the album. Rogers closes out the album with the grinding rock of Walkin’ The Levee. Brooks’ sax and Rogers’ guitar vie for top billing but there can be only one winner. Many take on the slide guitar but only a few become masters. Roy Rogers is most certainly in the latter group.

http://www.roy-rogers.com/
http://www.blindpigrecords.com/

David Blue.

Samuel James – For Rosa, Maeve And Noreen (NorthernBlues Music).

I reviewed Samuel James’ first album and proclaimed it to be one of the best debuts that I have heard so when his new release fell through my letterbox I wondered how he was going to deal with the difficult second album. Bigger, Blacker Ben opens that difficult second album. He’s certainly maintained his guitar playing standard and his knack for being a sublime storyteller is still there too. Cryin’ Blind shows a man out of his time yet strangely contemporary. He’s not trying to be a 1930s Delta bluesman but he could fit in there very well. His laconic delivery is beautiful on this more traditional song. Joe Fletcher’s Blues is slightly more up-tempo and is another gentle track. A Sugar Smallhouse Valentine continues the slightly quicker pace as James revisits a character from his first album. A good country blues. I’ll Break Your Promise is intimate and if you are looking for fireworks then Samuel James is not your man. However, if finely crafted tunes and expert playing such as Rosa’s Sweet Lil’ Love Song is more your bag then come on down. With the correct backing I can see Samuel James doing the same for acoustic blues that Joe Bonamassa has done for the electric genre. Darlin’ Maeve is again a bit more up-tempo but also goes to confirm that James doesn’t really conform too often.

The prize for pun of the year has to go to I’ve Haddock Up To Here. This easy going country blues is played in such a way that makes you believe that you could pick up a guitar and join in. This is one of James’ qualities – he makes everything sound so easy. He turns to the banjo for the rambling, stomping superb Miss Noreen. Trouble On Congress Street Rag is an instrumental that showcases his not inconsiderable finger picking talent. He varies the tempo well and the guitar is reminiscent of a train at times. John Ross Said is low key and moody, the opposite of many of the others on the album. The mood doesn’t hide the consummate storytelling however. Those who bought his first album will know his propensity for a long title and The Waters Always Changing But The River… is the latest in that line. This is his strongest vocal performance so far. Wooden Tombstone will have you making sure that the pills and razor blades are out of arms reach. This is simple in its execution with only his voice and foot taps present – superb! The ambling country blues of Path Of Ashes finishes things off well. Difficult second album? Done!

http://www.sugarsmallhouse.com/
http://www.northernblues.com/

David Blue.

David Gogo – Different Views (Cordova Bay Records).

Canadian singer/guitarist David Gogo has released nine albums prior to Different Views but this is his first in three years. Too Late To Stop Now is a high energy rocker with Gogo excelling on slide guitar. There are blues and Cajun influences all over this. Don’t Bring Me Down is a Goffin & King song, but not that you’d recognise it after the David Gogo treatment. This rocked up R&B is excellent. There’s a big vocal performance on Lies and the overall feel of the album so far, is that it is earthier than his last. Erase Any Trace is an acoustic led blues rock that is very classy and Gogo returns to slide guitar with panache. I’ll Get Over It has a big, big production and Gold is pure West Coast acoustic rock – excellent from the first note.

Where The Devil Won’t Go has echoes of John Lee Hooker and it’s a big, ballsy blues. There is a real maturity to Gogo’s songwriting and this is personified by Gunslinger, which is a bouncy soulful example. The following track, Relax, is an instruction, so do as the title says and just enjoy some beautiful sounds. Over And Over is a strolling, swinging blues with soaring guitar – a classy track. He’s building up to a strong end to the album and Since You’re Gone is a beefy R&B. He follows it up with I’ll Do It Myself and this all out rocker is the perfect way to round things off.

http://www.davidgogo.com/
http://www.cordovabay.com/

David Blue.

Govt Mule – By A Thread (Provogue).

To say that Govt Mule is a success would be a bit of an understatement. 2 million paid song downloads from their website, 7 critically acclaimed albums and sold out coast-to-coast US and European tours are testament to that. They open their 8th album with a bit of a Texas stomp and that’s no surprise when you hear that ZZ Top’s Billy Gibbons has added his not insignificant skills. Broke Down On The Brazos is bass heavy, thanks to new bassist Jorgen Carlsson, and this adds to the all round grungy feeling. Erstwhile Allman Brothers Band and Grateful Dead member Warren Haynes is a bit special (voted in Rolling Stone’s Top 25 guitarists) and his gritty voice is still as vibrant as ever. This is followed by Steppin’ Lightly, which is chunky, funky and very heavy. Good stuff! The blues influenced Railroad Boy also has cowboy flecks and maintains the high standard set by the opening two tracks. The cowboy influence may be from recording in Willie Nelson’s studio in Texas

Monday Mountain Meltdown is more of a prog rock style and after what has gone before, is a little disappointing but Gordon James is a classic acoustic rock that would hold its own in a large stadium or a small club. Any Open Window is another top class song and Lenny Kravitz comes to mind whereas Frozen Fear is a bit more run of the mill than the others and its alt country vibes are just not consistent enough. Forevermore is a return to the big ballsy acoustic ballads and it works well and Inside Outside Woman Blues #3 is a Jimi Hendrix/Joe Bonamassa style heavy blues with psychedelic undertones. The band is a class act and can grind it out – I could listen all night. Scenes From A Troubled Mind is another grinding blues with a big rock chorus and fills. World Wake Up is a lower key finish than I would have expected. However, this is an excellent ballad to end with and shows the softer tones in Haynes’ voice. They are only playing one gig in the UK on their upcoming European tour and that is a pity. Maybe next time they’ll let more of the country get the chance to see them.

http://www.provoguerecords.com/

David Blue.

Billy Walton Band – Neon City (Own Label).

New Jersey native Billy Walton has paid his dues on the blues circuit but the addition of bassist William Paris and drummer Marcus Croan has taken him to a different level. This is his debut album and Radio is a hi energy, hi impact opener – good blues rock. There is no doubting his fretboard skills on the eponymous title track but the song is a little nondescript. Hypnotized has a funky reggae beat with a rock base. Walton sets the frets on fire on this surprising highlight. The title says it all on Soul Song. It’s another song and another genre. On its own it is fine but I wish he would just pick a style and get on with it. He gets back to blues rock with Set Backs and you can chant along to this until your heart is content.

Treat Her Right is a speedy R&B with another shout along chorus. Walton’s guitar drives this along very well. Spreading The Blues is the kind of heavy blues rock that the Billy Walton Band excels at and air guitar players should look out their plectrums. This is short, sweet and solid. Distorted Views is a mid-paced blues ballad of a style similar to that of Gary Moore. This is more restrained than others but that lets you pick out his superb technique more. However, he can’t help himself and eventually lets it rip. He’s not up to it vocally at the start of Jersey Devil but he does eventually come onto his game on this Bon Jovi style rocker. He’s not in Bon Jovi’s class vocally but he does have claims to rival Richie Sambora on guitar. They finish with a strange choice, The Temptations’ Papa Was A Rollin’ Stone. I had reservations when I saw it listed on the sleeve and my fears were partially founded. Thankfully, it’s not a rehash of the original (why try to match perfection). There’s a strange end to it with a voice box over Walton’s guitar but it is a valiant effort nonetheless.

http://www.billywaltonband.com/

David Blue.

Rick Derringer – Knighted By The Blues (Provogue).

Knighted By The Blues opens with The Mess Around, a famous song (written by Ahmet Ertegun) and Derringer is a famous artist, having played with the McCoys as far back as 1965 on Hang On Sloopy. He went on to be an able sideman for Johnny and Edgar Winter as well as launching his own solo career. He plays this at high pace with searing guitar as you would expect. Derringer doesn’t over complicate things and when you do that, things are unlikely to go wrong. The gritty Sometimes is a bit heavier and Derringer’s voice is superb as is his guitar playing. He has certainly stood up to the test of time. Give Me Some Money is a stylish blues that swings along just fine and he delivers a fine version of If 6 Was 9, a Jimi Hendrix written chugging blues. He has certainly not lost any of his panache through the years and he delivers a big solo. The eponymous title track is a strolling blues – sophisticated night club stuff and exquisitely performed.

Jenda is not up to the standard of the rest of the album but we’ll forgive him one average track. The lively instrumental Cat On A Hot Tin Roof is jazz rock with intricate runs and able backing from Ron Reinhardt on keyboards. My Gals Kinda Crazy is a classy hard core Chicago blues and Derringer lets rip. Time To Go is a driving blues that is let down slightly by the vocal but that’s only a small criticism as the guitar work is superb and more than makes up for it. He finishes with the sultry Funny I Still Love You, which is the kind of slow blues that Clapton excels at. Written by Ray Charles, it sounds a bit like Hard Times.

You don’t last as long as Rick Derringer without being good and Knighted By The Blues shows how good.

http://www.rickderringer.com/
http://www.rickselectricguitar.com/
http://www.provoguerecords.com/

David Blue.

Jeff Healey – Songs From The Road (Ruf)

Trawled from three concerts in 2006 and 2007, Songs From The Road is the perfect way to remember Jeff Healey. He was the consummate live performer and this DVD/CD set is a must to have in your collection. The opener, I Think I Love You Too Much lets us hear what we are missing since Jeff’s untimely death. This is a scorching version of the Dire Straits song and has some of his best work ever. What a guitarist he was. I’m Ready tends towards a Kansas City style with this strolling blues and barrelhouse piano. Stop Breaking Down is a good old stomping version of the Robert Johnson song. Slide guitar and harp and you didn’t hear them on a Johnston version. This has been recorded by many but this is one of the best rock versions that I have ever heard. There is the obligatory trademark solo and a well deserved big cheer at the end. He cools it down for his biggest hit, Angel Eyes, and shows that he did have a voice too. This big rock ballad has an equally big chorus and dual guitars. It is so well played that you forget that you are listening to a live recording. The Beatles’ Come Together is played in the menacing manner that it should be. Plenty of audience participation and the electric piano is in there too. It stays very true to the original, well almost. Jeff rips into a superb solo at the end – no surprise there then.

Hoochie Coochie Man is excellent but slightly overdone. It’s been done so many times but there is no need to mess about with it. There’s a harp solo and Waters would have liked that. Guest guitarist Randy Bachman launches off into one this time as does Healey. I can just visualise him bouncing about on stage with the guitar at its usual angle. White Room – another version of the classic Cream song. This is full of energy and is as good a cover of any song that I’ve ever heard. Pounding drums and a sensational solo sum this up. This is one of my favourite Cream songs and Healey has not disgraced it. He keeps up The Beatles and Clapton theme with While My Guitar Gently Weeps. It’s an audience favourite with a big participation from them. I think that this is the first song that I saw Healey play. Whipping Post is a pulsating blues rock with jazz and prog inflections. Teach Your Children Well is a strange one to include, considering Healey’s blues/rock credentials. There are deep tones to his voice an he comes across surprisingly well. The band adds excellent backing vocals to give an all round country feel. Santa Bring My Baby Back To Me is a pretty daft one to include in an album that was released in the Summer. Seriously, it must have been from the November 2007concert in Toronto that this one came from. The band was having a good laugh anyway and as the man says “That’s what it’s all about”. A fitting epitaph. The bonus DVD has versions of Shake Rattle and Roll and Like A Hurricane. Worth having for those two alone.

http://www.rufrecords.de/

David Blue.

Jack Bruce & Robin Trower, Gary Husband On Drums – Seven Moons Live (Ruf)

Two legends get together for the first time, performing live. Jack Bruce and Robin Trower have a number of years on the clock, playing in some of the most famous bands ever but this is the first time that they have played live, together. This album was recorded in Nijmegen, Holland on the third date of a short tour and must have been a sight to have been seen. Seven Moons opens with very grateful thanks from the band. Jack Bruce just loves his power trios and this one is up there with the best. Bruce’s voice hasn’t suffered too much over the years and Trower is playing just as good as ever. Lives Of Clay is blues influenced with a big solo just like days gone by – stunning stuff. Distant Places Of The Heart is morbid, morose and any other m’s you can think of. Everyone plays Sunshine Of Your Love so why not Robin Trower? It’s only Bruce singing so it’s different vocally on the chorus. The solo is where Trower puts his stamp on it but he doesn’t muck about too much with this classic. Bruce’s bass is top notch. There is some awesome note bending from Trower on Carmen with So Far To Yesterday, another stunning track which confirms the trio’s power.

Just Another Day is slow and bluesy with Bruce’s world weary vocal a highlight. Perfect Place is a funky blues with Trower on form. This is one of the top tracks on offer. The blues theme continues with Bad Case Of Celebrity and Trower shines again. Jack Bruce is just Jack Bruce; I can’t give him any higher accolade than that. The Last Door has a faster pace but there is no loss of quality. Come To Me has signs of deterioration in Bruce’s voice but musically they are still on top form. Trower lets it go on the solo and the rhythm section keeps things going very well. White Room is the first of two classic Cream songs to finish the set. This is subtly different from the original and although Trower’s solo is great, Clapton’s is still better. It’s good to hear the old song again though. Politician has that classic bass line and guitar riff. There’s another big solo from Trower as they go out with a bang.

http://www.rufrecords.de/

David Blue.

She Keeps Bees – Nests (Names Records).

She Keeps Bees were only formed in 2006 but they have been making great strides ever since. The Brooklyn duo’s style of music has been described as primal thumping and hollering, bluesy riffs & gritty and downright sexy so you are assured of almost anything. The opener, Ribbon, is pared back blues inflected genius with a no nonsense vocal and percussion. This is followed by the acoustic, throbbing yet understated Wear Red. They don’t do long songs and this is at the very short end of their range. Release is electric this time but still in that understated vein and they stay electric on Gimmie though they are not out of second gear yet. The latter builds well and is simple in its execution with a tumultuous finish in a crash of cymbals. The very earthy Get Gone continues the raft of short songs. My Last Nerve reminds me of a favourite t-shirt. That’s in ‘I’ve got one nerve left and you’re getting on it’. However, She Keeps Bees are unlikely to get on your nerves. On the contrary, you are likely to want to hear more. Bones Are Tired is world weary with vocal only but at just over one minute, they are taking short songs a bit far. Focus is powerful yet pedestrian and You Can Tell is more of the same. They are a good band but they would be better if they could just change gear once in a while. Strike sounds a bit like Siouxsie at times while Cold Eye finishes the album off in the way that most of it has gone. Believe it or not, the two longest tracks are at the end and they are still under 3 minutes. She Keeps Bees don’t hang about much on their songs – I just hope that they manage hang around a bit longer.

http://www.namesrecords.com/
http://www.shekeepsbees.com/

David Blue.

James Yorkston & The Big Eyes Family Players – Folk Songs (Domino).

James Yorkston takes a break from his usual band The Athletes and teams up with The Big Eyes Family Players to release an album of traditional folk songs, done the Yorkston way. The opener, Hills Of Greenmoor, is Lo-Fi folk and will bring a new wave of interest in the genre. As with a number of the songs on this album, Yorkston first heard it sung by Anne Briggs. Just As The Tide Was Flowing has melancholy and gentle tones. Very short, like most of the songs on the album, at just over 2 minutes. James Green of The Big Eyes Family Players says it leaves you with feelings of longing and sadness and resignation – not a barrel of laughs then. Martimas Time is another Anne Briggs one. It’s Old English and has been recorded often. Yorkston’s plaintive vocal is off set by gentle backing from the band. Mary Connaught & James O’Donnell has a bit of a faster pace with even a drumbeat! Irish tune but Yorkston has replaced the melody with one of his own. Thorneymoor Woods has an eerie opening and is a poacher’s song. Quintessential English folk with harmonium and too-ra-eh’s but don’t expect a lively tune though.

I Went To Visit The Roses is another Irish one. Interesting harmonium on this one – it was found on an Edinburgh street and has mouse proof pedals!! Pandeirade de Entrimo is a Galician instrumental which is led by the violin and recorded by Yorkston before on his The Lang Toun single. It’s a bit of a Tango in its execution and has a very Latin feel. Little Musgrave is from the 16th century, at least. It’s often been changed and Yorkston has changed it again – it’s such an organic song. Rufford Park Poachers is another that Yorkston has changed the melody on. He learned it during his many long train journeys but couldn’t replicate the guitar from the Nic Jones version that he was learning it from. Sovay is a famous old song and this is such a sorrowful version of it. A tale of a woman who dresses up as a highwayman and robs her own man, as if you didn’t know. Low Down In The Broom is a galloping finish and was rattled off in a day at the end of recording. I’m so glad that they had time and energy left to do this because it’s one of the album’s highlights.

http://www.jamesyorkston.co.uk/
http://www.dominorecordco.com/

David Blue.

Watermelon Slim -- Escape From The Chicken Coop (NorthernBlues Music).

Blues giant Watermelon Slim goes to the country heartland of Nashville for his latest offering and the opener, On Caterpillar Whine, the Nashville influence hits you right between the eyes. It’s where blues meets country with classy slide guitar from Slim, a high tempo and it is a very good start. Skinny Women and Fat Cigars is good time, honky tonk music and although you may try not to like it, you will not succeed. You See Me Like I See You is old time country where the additional vocal from Jenny Littleton fits in perfectly. Stuart Duncan on fiddle and Paul Franklin’s twanging steel guitar lend an air of authenticity. Slim has always made reference to his trucking days and this album is no different with tracks such as Wreck On The Highway. This has the mandolins and harmonised chorus’s that you would expect of mountain music. Friends On The Porch has some thoughts from the Watermelon man. This short poem is spoken throughout and is surprisingly not too much out of place. Should Have Done More is a tale of human inadequacy as Slim brings country to Nottingham, England. The overall grungy feel of the music compliments the pointed lyric very well.

Hank Williams, You Wrote My Life is a superb title and what a life Slim must have had. This is good old style country played in a contemporary way and may even get some people searching back and checking out old Hank himself. America’s Wives is another that mixes old and new country and has the obligatory steel guitar from Paul Franklin to the fore. The Way I Am is a statement from Slim and it is Nashville through and through. He has such an easy way and that steel guitar reverberates again. It’s Never Too Hard To Be Humble treads a well worn country theme of trucks, not surprising seeing that Slim was a trucker in a previous life. Slide guitar on this is a standout and it sounds like it was recorded in one take. It’s said that country music covers four main themes; prison, farms, trucks & trains and Slim more than covers the trucks theme. That is confirmed on the final three tracks. 300 Miles is a true American tale, the Honky Tonk Truck Drivin’ Songs continues the theme and things are rounded off perfectly with 18:18 Wheeler, which has the listener feeling like they are in a moving truck. Stuart Duncan’s fiddle keeps the pace up and makes it a true driving song.

This is a superb collection of Nashville inspired songs and well worth a place in your collection even if you don’t like country music. However, if you are looking for Slim’s blues side then check out his sublime last album, No Paid Holidays, with standout tracks such as the rich sounding Blues For Howard, the shuffling You’re The One I Need and the heart aching And When I Die.

http://www.northernblues.com/
http://www.watermelonslim.com/

David Blue.

Rock and Roll Tourist – Graham Forbes (Northumbria University Press).

Former Incredible String Band bassist Forbes has come up with a great idea. Go and watch gigs, write a book and get paid for it! Seems simple, doesn’t it? What I have missed out is the fact that Graham Forbes has a talent for explaining his surroundings in such a way that you can almost feel that you are there. His accounts of going to see such diverse bands as The Bootleg Beatles, Anthrax and Hayseed Dixie as well as music heavyweights Kiss, U2, Elvis Presley and BB King don’t glamorise life on the road but will still make you want to be a rock n roll star. Sometimes things don’t turn out such as the time that Graeme went to see Chuck Berry in Glasgow and the “cantankerous old sod” didn’t turn up. Eminem did the same in Hamburg. But these aren’t the tales of the road that you want to hear. You want to hear about what it’s like to travel with a band, don’t you? Take Anthrax, for instance. They’ll really be rock n roll, won’t they? Forbes’ main problem was how he was going to get from Galway (where he had just seen Amos Garrett) to Oxford, where Anthrax was playing. The resulting paragraphs sum up public travel in the UK and are hilarious. Anyway, back to Anthrax. After seeing them in Oxford, Graham travels across the Channel with them to Calais and then on to Brussels. Graham describes the toilet on the tour bus as smelling like a tent for geriatric elephants – I don’t think that any other descriptors are required. However, days of hard drinking and wrecking hotel rooms are all in the past and now Scott Ian and Charlie Benante are Anthrax’s answer to Aerosmith’s Toxic Twins – they are the Blackberry Brothers! Rock and Roll, eh?

If you only read one music book this year then make it Rock And Roll Tourist.

The Why & Wherefores –Alright (Dusty Records).

This is Emily Druce & Steve Jones’ latest incarnation and they stray slightly from the blues path with roots and rockabilly coming into play. Joining Druce & Jones in The Why + Wherefores are Martin Wydell on tuba & sousaphone, Marc Layton-Bennett on drums & percussion and John Barker on lap steel. Alright takes them away from the blues and they go electric. This is a very Bohemian, jaunty opener. Black And White has gentle sounds with Neil Innes guesting ob bassand Rev Gal takes them back into the blues arena as Jones takes on the vocal. This is a beefed up electric blues with added percussion from Layton-Bennett -- high impact blues rock. The One I Left Behind has Druce back on vocals and Innes on bass for this uptempo swing blues and one of familiar territory. Rough Diamond is slowed down and folk influenced. Druce’s fiddle gives that boho feel to Wolf which has them swapping the vocals again.

Rollin’ And Tumblin’ is not a blues as you would expect from the title but a return to Bohemia. Illuminated is early Eddi Reader in delivery and pleasant enough without being outstanding. Way Out West has a punctuated bass and this lays the foundation for a laid back groove. I feel that the fiddle is a little unnecessary on this one though. I Thought I Loved Somebody Else is a heavier blues based thumper and far better than the pretty stuff in my opinion. Last Go Round is another slinky one and they finish with a brave cover (the only cover on the album) of Bob Marley’s Lively Up Yourself. This is slower than the original but it does maintain the slight reggae feel that has just been under the surface on some of the earlier tracks. However, it is not up to the standard of the original but the slide guitar is a bit of a novelty.

www.myspace.com/thewhywherefores

David Blue.

Danny Bryant’s Red Eye Band –Watching You (Roots Collectibles).

Fans have been crying out for the re-release of Danny Bryant’s 2002 debut album and now the wait is over. On its original release the album was declared as marking the arrival of a new blues star and given his most recent success with 2008’s Black And White, it makes sense to go back and see how much he has progressed. The eponymous title track is a rousing start and the type of chugging blues rocker that he has gone on to perfect. Since You’re Gone highlights the early guitar skills and it is there for all to hear. This slow Chicago blues has added gritty vocals and it is no surprise to see him performing so well today when this is where he started! Living In The Lions Den is an acoustic based rocker with a strong vocal whereas Crying For My Baby shouts out Status Quo with a strong mid-paced boogie. Search For You is slow and atmospheric. It’s not his best vocal but confirms he was a raw talent. Nothing raw about his guitar work however.

Heartbreaker is another mid-paced rocker with the flaming guitar licks that he now performs with aplomb. Purple is a pleasant instrumental with superb guitar and a big solo spot for Bryant. Follow On has that gritty vocal again and it is very well suited to this big rock ballad. Dancing Girl starts out as an acoustic led slide blues and then boom, in comes the electric guitar and the rest of the band as they turn it into a good, thumping rocker. Falling Tears sounds as if it has a piano into before it leads into a surging power ballad. It’s pretty standard stuff but another bulging solo from Bryant confirms his early class.

This is a good point of reference for those who bought Black And White and want to dig out Danny Bryant’s roots.

http://www.continental.nl/

David Blue.

Tiny Tin Lady – Ridiculous Bohemia (Tiny Tin Label).

Ridiculous Bohemia is Tiny Tin Lady’s second album and follows on from their critically acclaimed debut in 2006. For the new album, the all-girl group from Merseyside has added Kat Gilmore on violin to the established line up of sisters Beth & Danni Gibbins on guitar and vocal and Helen Holmes on bass. They have honed their skills supporting acts such as Fairport Convention, Midge Ure & Jah Wobble and have performed at more than 30 festivals. The first of twelve original songs is Fall Into Line, which has a crystal clear vocal, a quirky beat and lovely harmony. Anti-Social Sciences has a Corrs feel, perhaps this is down to the three part female harmony – good song. Green And Brown And Grey is not the most endearing of titles but the Corrs theme continues and the fiddler just makes them sound like them all the more. In My Room is another sedate, folksy offering and these soft sounds are just perfect for drifting away on. They are quickly adding themselves into my chill out playlist. Dubble Bummage is more up-tempo but that title needs further explanation. Pretty Eyes is classy and those harmonies are just perfect.

I’ll stay away from the obvious comments about Seven Weeks Of Strip Poker. It has a Russian vibe and a high pace, something they don’t do often enough. It shows that there is more than one level to Tiny Tin Lady. Growing Pains is graceful and has that slight Celtic influence that has been just under the surface since the start – very good. The Road To Ridiculous Bohemia is a bit tame, unfortunately. The introduction of violin does give them that Bohemian feel nonetheless. The eponymous title track is higher paced but they are losing it a bit and struggling to keep up the standards of the earlier part of the album. Love Is A Duel is a calm, pretty song but why have a minutes silence at the end? Perhaps it was for the loser! The final track, My Heineken Keg, is good fun and an exercise in finding words to rhyme with keg.

http://www.tinytinlady.com/

Dave Arcari – Got Me Electric (Buzz Records).

Got Me Electric is Dave Arcari’s fifth album and features nine originals along with four covers. He has sprung a couple of surprises and plays acoustic and Telecaster guitars as well as his beloved National. The eponymous title track heralds the return of the wild man but there is only so much that you can do as a solo artist. However, he may garner more recognition on the back of what Seasick Steve has managed to achieve. Whatever happens, you know what you are going to get from Mr Arcari. Nobody’s Fool is engaging and You Oughta Know is a great re-working of an old song. I may have been premature in stating that the wild man is back as it seems that he may have mellowed a tad on No Easy Way and he has rounded things out a little more. Close To The Edge is out of Radiotones back catalogue and Arcari often successfully raids his old songs from time to time for a bit of re-jigging. Another success, although there will be those that say he leaves himself open to accusations of a lack of new material. The one thing that is constant is that he always keeps his Scots accent. One More Heartbreak dispels all thoughts of mellowing as he really goes for the throat. This is classic Arcari and a great version of the Frankie Miller song.

Blind Willie Johnson’s Soul Of A Man is a country influenced blues and Arcari keeps it simple. It is Robert Burns’ 250th anniversary this year and Arcari has chosen to include Parcel Of Rogues. There will be purists jumping from roofs but I’m sure that the bard would have loved to hear his words interpreted in this way and given the full Arcari treatment. Hear Me Coming is back to the blues but I feel that this would benefit from a full backing band. Homesick And Blue is electric and a little on the rockabilly side whereas Journeytime Is Over is archetypal Arcari if there is one, although not in the blues shouting area. There is a certain formula to our Mr Arcari and the man is not for turning. Robert Johnson’s Walkin’ Blues is electric and grungy, revamped and how!! Just wait for it and all of a sudden you’ll be in the middle of a riot. This is him at his snarling best. He closes with Bound To Ride, another revamped Radiotones song but this time he has managed to create a wall of sound just from one man and his guitar.

This is a remarkable album in more than one way!

http://www.davearcari.com/
http://www.thebuzzgroup.co.uk/

David Blue.

Paul Rishell & Annie Raines – A Night In Woodstock (Mojo Rodeo Records).

Paul Rishell and Annie Raines first met in 1992 when Raines sat in with Rishell on a gig in a Boston bar. Those who were there must have suspected that they were witnessing the beginning of a long standing partnership. A Night In Woodstock is their first live recording and also the first release on their fledgling Mojo Rodeo label. The pair has racked up hundreds of gigs and it is evident throughout this recording of how comfortable they are with each other. The opener, Blind Boy Fuller’s Custard Pie, is acoustic country blues which has a Sonny Terry & Brownie McGhee style guitar and harp feel to it. A Night In Woodstock is a live album in every way and this is the best medium for the wailing vocal on Canned Heat Blues. This Tommy Johnson classic is superbly executed. Johnny Winter’s Dallas has slide guitar and is a classic blues of huge proportions. The first original song is Got To Fly, which has guitar and harp in the Terry/McGhee style again but it’s Raines who takes the vocal this time though. There’s not enough emotion in it for me but it is admirable taking on both harp and vocal. It’ll Be Me/I’ll Be Looking For You is sedate but has precision guitar from Rishell and moaning harp to make up for it. Louis Armstrong’s Old Man Mose is far more upbeat. It’s not a blues however but should be filed more under jazz/Americana.

Blues On A Holiday is laid back and nothing special but Can’t Use It No More has John Sebastian guesting. This gives us a more impassioned vocal and the added drums and piano are welcome. I’m A Lover Not A Fighter has country influenced guitar picking from Rishell and the impressive harp helps build it up to a good ‘un. Moving To The Country is an electric chugger. More of a country rocker this time and has the requisite vocal. Maybe just a little too much plodding for some people’s liking but the harp is as good as ever. Bad Credit is a vibrant, upbeat blues and Blue Shadows is mid-paced, rhythmic blues rocker with deliberate lead guitar. The show finishes with the classy Orange Dude Blues and this will leave you wanting more. Your wish shall be granted when the planned DVD comes out soon.

http://www.paulandannie.com/

David Blue.

Memo Gonzalez & The Bluescasters – Dynomite (Crosscut Records).

Texas born frontman Gonzalez and his multi-national Bluescasters have been performing their brand of blues, swing, rock, soul and funk to audiences throughout Europe and the USA for a few years now and they have transferred that craft onto their latest album for Crosscut. Bad Luck is a slightly low key opening, not normal Bluescasters fare but well played nonetheless. However, Dynomite Nitro has the big R&B sounds that the band have become renowned for and One Day, One Kiss, One Night is a pounding Dave Edmunds style rock n roll. Please Come Home is a slow, swinging blues with strong guitar work from Kai Strauss and highlights Gonzalez’s presence. Strange Kind Of Feeling is bouncy R&B from a tight band held together by the rhythm section of Erkan Ozedemir on bass and Henk Punter’s drums. Slip Away has a big vocal performance and is a soulful R&B.

The Freddie King song Double Eyed Whammy stays in the R&B field that they are comfortable in and Strauss’jagged guitar is a near match for the great man’s. Mary Lynn is an electric blues with a country feel and What’s In A Name is eight and a half minutes of superb harmonica blues -- a highlight! Gonzalez’s voice is on the mark and the harp is of classic proportions with Strauss beefing things up on guitar. D Jump is a harmonica led jump blues and is good party stuff. Lonely Boy is a swinging, electric blues and Fat Boy is a big finish. This instrumental has both guitar and drums to the fore. The only question unanswered is that of whether it is an homage to the Fat Boy Stratocaster.

An excellent follow up to Live In The UK.

http://www.memogonzalez.com/
http://www.crosscut.de/

David Blue.

Joanne Shaw Taylor – White Sugar (Ruf Records).

Joanne Shaw Taylor first burst onto the scene at the tender age of 16 when she was discovered by Dave Stewart of Eurythmics fame. The following summer she toured with Dave, Candy Dulpher and Jimmy Cliff and has been honing her blues themes ever since. Her debut album, White Sugar, has been produced by the legendary Jim Gaines and he has pushed her to the limit. She opens with Going Home, a beefy opener which suits her smokey voice. She is the complete package as she is a more than competent guitarist too. She has been described as the love child of Dusty Springfield and Stevie Ray Vaughan so just close your eyes and imagine what she sounds like. Just Another Word is a mid-paced funky rock and Bones is gritty blues rock with a scorching solo which slides along very well. Who Do You Want Me To Be? is high energy and Time Has Come is a slow, classic blues with a big solo.

The eponymous title track is a funky, biting blues but Kiss The Ground is an altogether more rock influenced sing although it is nothing out of the ordinary. Heavy Heart is soulful and a strange change of direction towards the end which is a little bit unnecessary. Watch ‘Em Burn is a pulsating rocker and shows how good a guitarist she is. She closes off with Blackest Day, a classic blues with one of her big, blossoming solos. As far as debut albums go I think that Joanne Shaw Taylor has shown that she had tremendous potential.

http://www.joanneshawtaylor.com/
http://www.rufrecords.de/

David Blue.

The Mannish Boys -- Lowdown Feelin’ (Delta Groove Records).

Los Angeles based The Mannish Boys play the blues in West Coast, Texas and Chicago styles and have a number of luminaries in their occasional line up. Lowdown Feelin’ is their fourth album and leads on from their critically acclaimed Big Plans from 2007. The opener, These Kind Of Blues, has a Spanish/Mexican intro that leads into a BB King sort of feel. It’s a good, pulsating start, an upbeat walking blues with strong harp from Randy Chortkoff. Searchin’ Blues is well performed with classy slide guitar provided by Frank Goldwasser. Lowdown Feeling is a powerful Chicago blues with a big brass input – a big performance and Chocolate Drop is a smooth track with a gritty vocal from Bobby Jones. The quaintly named If The Washing Don’t Get You, The Rinsing Will is a swinging blues with Kirk Fletcher’s snappy guitar. Need My Baby is a slow, strolling blues with a deep vocal from Jones this time and a slight Kansas City influence. The Something is smouldering and The Woodchuck picks up the pace for a good time boogie. Fine Lookin’ Woman is a straightforward slide guitar and harp offering and You Don’t Love Me is a vital 60s R&B instrumental. Figure Head is a languid, fluid blues. Rude Groove is an invigorating yet slowish R&B but it is a little too long. When I Leave is soulful yet a little out of place – a bit of a filler methinks. Good Times is a slow blues with harmonica, guitar and organ prominent. Something’s Wrong is a strong, shuffling blues and Reet, Petite And Gone has a slinky guitar solo from Goldwasser and moves along at a decent pace. They close with Dead Letter Blues, a song from the Son House archives, I think, but although this is vocally strong and musically sound, it is not as powerful as the master. Their name is from the Muddy Waters song but believe me, these guys are all men.

http://www.deltagroovemusic.com/
http://www.themannishboys.com/

David Blue.

Elvin Bishop – The Blues Rolls On (Delta Groove Music).

Elvin Bishop has used The Blues Rolls On to pay tribute to those who inspired him and gave him his start in the music business. Some of the blues royalty such as BB King, George Thorogood, James Cotton and Kim Wilson has stepped forward to help him too. The self-penned eponymous opening track is a pulsating start with Kim Wilson’s harp to the fore. Bishop is one of rock’s elder statesmen and he gets his slide out to good effect on this also. There is a good sentiment to this song and all of my heroes are mentioned. Night Time Is The Right Time is a classic song and has a classic vocal from rising star John Nemeth and Angela Strelhi. Bishop stays in the background but you know he is there. Yonder’s Wall has a minimal opening until Chris Sandoval on drums and Scott Sutherland’s bass arrive. It is a good, swinging blues with Ronnie Baker Brooks as guest vocalist. Bishop’s slide is also complimented by Brooks’ guitar. Builds well into a cornucopia of guitars. Struttin’ My Stuff is Southern funk and Bishop is in his element. He just has that certain style and class. BB King guests on Keep A Dollar In Your Pocket and he has a slight discussion that leads into and out of the song and adds that personal touch. BB’s trademark licks are there as you would expect. The Berry Gordy/Smokey Robinson composition, Who’s The Fool has John Nemeth back on vocals and fluid guitar from Bishop and Mike Schermer – a highlight.

Clifton Chenier’s Black God is slow, but authentic, Cajun while Oklahoma is a harder edged blues and is basically just Bishop and his guitar. Come On In My House (credited to Junior Wells) just feels as if it belongs here – a top electric version of this classic. I Found Out is a shuffling blues and sounds a bit like a Howlin Wolf song. Good harp from James Cotton. Send You Back to Georgia is energetic and Bishop’s guitar is unleashed along with those of George Thorogood and Jim Suler. The final track is Honest I Do, another well known one. This has piercing harp from John Nemeth and stinging slide from Bishop. The cymbals get a real bashing on this instrumental as the number of personnel highlights – Ed Earley & Larry Vann on percussion and Bobby Cochran on drums. It all makes for an excellent finish to a good album by a true slide guitar master.

http://www.elvinbishopmusic.com/
http://www.deltagroovemusic.com/

David Blue.